Tim Byers Art Books CATALOGUE No. 2
1. Walter AUE. P.C.A. Projecte Concepte & Actionen. Cologne. Verlag M. DuMont Schauberg. 1971. 29.8 x 21 cm. Over 600 pages. Numerous black and white illustrations throughout. Publisher’s wrappers. Large compendium of the art and literature of the 1960s, with contributions by Erich Reusch, Mauricio Kagel, Paul Pechter, Rainer Giese, Gerhard Rühm, Lawrence Weiner, Hermann Nitsch, Ed Ruscha, Markus Raetz, Sottsass, Nam June Paik, Dieter Roth, Sigmar Polke, Joseph Beuys, Elfriede Jelinek, and others. £ 65
2. Robert BARRY. Two pieces. Turin. Sperone Editore. 1971. 17 x 11.5 cm. 2 volumes. Each bound in plain card wrappers, with dust jackets. Original card slipcase, foxed as is endemic in copies of this book. Library numbers in ink on top corner of slipcase. Artist book, and one of the first in which the fragmented text becomes the conceptual image. Each page containing a printed sentence starting with “It is…” or “It can be..." £ 250
3. Robert BARRY. It is… it isn’t… Paris. Yvon Lambert. 1972. 17 x 11 cm. pp. 78. Publisher’s wrappers. Library call numbers on spine and front cover, and ownership inscription on first printed page. Published by gallerist Yvon Lambert, "It Is. It Isn't… " is conceptual practitioner Robert Barry's 1972 artist book, and a sequel to “Two pieces”, that takes the form of a textual selection of adjectives that may or may not be. £ 150
4. Christian BOLTANSKI. Compositions. Paris. ARC. Musée d’Art Moderne de la Ville de Paris. 1981. 19.5 x 20.8 cm. pp. 46. Colour illustrations throughout. Publisher’s glossy wrappers. Exhibition catalogue. An interview with the artist by Suzanne Pagé and afterword by Dominique Viéville. £ 20
5. Christian BOLTANSKI. Inventaire des Objets ayant appartenu à une femme de Bois-Colombes. Paris. CNAC. 1974. 21 x 14 cm. pp. 48. Publisher’s stiff printed wrappers. Artist book. An inventory composed of 295 photographs of the belongings of a woman from the Paris suburbs. Published on the occasion of the Boltanski / Monory exhibition, Festival d'Automne de Paris. [Ref. Parr & Badger, Photobooks II, pp. 154-155; Moeglin-Delcroix, Esthétique du livre d'artiste, p. 192]. £ 300
6. Christian BOLTANSKI. L’album photographique de Christian Boltanski 1948-1956. Hamburg & Paris. Edition Hossmann & Sonnabend Press. 1972. Box 22 x 16 x 5 cm. Title page, colophon page and 32 original black and white photographs by Annette Messager each mounted onto sheets of white card. Text (captions) in French, and complete with two loose 4-page leaflets, providing a translation into English and German. Housed in the original metal box, with handwritten titles in black felt tip pen on the lid. This appears to be an ex-display copy with pinholes in upper corners of each card, and remnants of old mounting glue to verso of cards. Title rubbed on lid. Published in an edition of 500 copies, this is one of 60 deluxe copies, signed and numbered by Boltanski on the colophon page. [Ref. J. Flay: Christian Boltanski, Catalogue of the books, printed matter, ephemera, no. 27, pp. 70-73; Bob Calle - Christian Boltanski, Livres d'artiste 1969-2007, pp. 24-25]. £ 1,900
7. Christian BOLTANSKI. Recueil de saynètes comiques interpréteés par Christian Boltanski / Sammlung lustiger Einakter dargestellt von Christian Boltanski / Collection of comical one-act plays performed by Christan Boltanski. Münster. Westfälischer Kunstverein. 1974. 21 x 17 cm. pp. 482-573. With numerous black and white illustrations. Publisher’s wrappers. Parallel texts in French, German and English. Published in conjunction with the exhibition at the Westfälischer Kunstverein, December 1974, and prefaced by an essay by Klaus Honnef. An artist’s book, with farcical re-enactments by Boltanski of childhood scenes and imaginings. [Ref. Flay, Jennifer (ed.) - Christian Boltanski. Catalogue: Books, Printed Matter, Ephemera, 1966-1991, p. 37]. £ 120
8. Daniel BUREN. Halifax. 7 days - 6 placements - 7 colors. Paris & Halifax, Nova Scotia. Multiplicata & NSCAD. 1974. Oblong 11 x 16.4 cm. Publisher’s wrappers. Seven bound postcards of photographs of a Buren public installation on the corner of Grancille Street and Buckingham Street, Halifax, Nova Scotia. The announcement for the work is here reprinted as the summary for the sequential series of postcards. £ 55
9. Germano CELANT (editor). Art Povera. Conceptual, Actual or Impossible Art? London. Studio Vista. 1969. 22.8 x 20.8 cm. pp. 240. Black and white illustrations throughout. Publisher’s wrappers. Art Povera is Germano Celant's important early Conceptual, Minimal and Earth Art survey from 1969 in which the author devotes between five and eight full pages each of text and documentary images to a selection of the period's most important and innovative practitioners. £ 165
10. (Michel CLAURA). 18 Paris IV. 70. Paris. Seth Siegelaub. 1970. 16.5 x 10.5 cm. pp. 70. Publisher’s black boards. Covers are rubbed as is usual with the book, with some splitting and loss to white paper-covered spine. Important Conceptual art catalogue of an exhibition curated by Michel Claura, Paris, April 1970. Tri-lingual text (French, English, German). Afterword by the curator. Exhibition included works by Ian Wilson, Lawrence Weiner, Niele Toroni, Robert Ryman, Edward Ruscha, Richard Long, Sol Lewitt, David Lamelas, On Kawara, Douglas Huebler, Francois Guinocher, Gilbert & George, Jean-Pierre Djian, Jan Dibbets, Daniel Buren, Stanley Brouwen, Marcel Broodthaers, and Robert Barry. Each artist's contribution takes the form of two successive project proposals accompanied by photo-documentation. The present catalogue began, in fact, to be constituted at the end of November 1969. On November 20th, twenty-two artists were invited to participate in the exhibition. They were asked to send a project for December 15th. In this first letter the invited artists were informed about the forthcoming steps. On December 15th, nineteen projects had been received. On January 2nd all the projects received were sent to each of the invited artists, who were asked to send back, up to February 1st, what would be their definitive participation in the exhibition (that is to say, their first project again, or with modifications, or something completely different etc.). On February 1st, eighteen definitive participations were registered. £ 250
11. Hamish FULTON. Horizon to Horizon. Dun Na nGall. Londonderry, Northern Ireland. Coracle Press for Orchard Gallery. 1983. Oblong 9.8 x 19.4 cm. Publisher’s green wrappers, stitched. Artist book consisting of a 4-page booklet with short texts printed in colours, plus a leporello with two line drawings and texts printed in blue and black. £ 70
12. Hamish FULTON. Collection of six early exhibition invitation cards - 1971-76. Consists of the following: A Bicycle Journey from Canterbury England to Delémont, Switzerland (Galleria Sperone, Turin, January 1972); Porridge, Bacon and Eggs, Toast and a Pot of Hot Tea (Konrad Fischer, Düsseldorf, June 1972); Mankinholes - On the Pennine Way (Galleria Toselli, Milan, November 1973); Sixteen Selected Walks Spring 1971 - Summer 1975 (Kunstmuseum Basel 27.9. - 16.11.1975); Rio Grande. Texas Mexico border. Early 1976. (Cusack Gallery, Houston, from January 24, 1976); Hamish Fulton (The Claire Copley Gallery, Los Angeles, opening September 11, 1976) Several of the invites are addressed and mailed to Martin Visser, the renowned Dutch furniture designer. Added is a signed postcard from Fulton to the Vissers. £ 350
13. Andy GOLDSWORTHY. Leaf Wreath. 1991. Wreath 75 x 75 cm. Framed (108 x 108 cm). It was at the Arts Club of Chicago, in September 1991, that the British land artist Andy Goldsworthy held his first solo exhibition in the United States. The exhibition was entitled “Sand / Leaves: Michigan Dunes, August 1991. Illinois Woods, September 1991”. His pieces for the Arts Club involved one-week stays on a beach in Michigan and also at a wooded area in Illinois. Working day and night in all weather, Goldsworthy created 39 impermanent pieces of sand and leaves, which he documented in colour photographs. The exhibition included the photographs plus several installations made of leaves and sand from the same places. Some installations were for the wall, others for the floor. Presented here is one of the original leaf works from the exhibition. Measuring approximately 75 cms in diameter, Goldsworthy has constructed a beautiful wreath out of, perhaps, two different types of Illinois maple leaves. The leaves are woven tightly together to form the circular wreath, and are held in position by an intricate interconnecting maze of twigs and blackthorn stems. The work is presented within a clear plastic box frame (measures 108 x 108 cms). Such unique works by Goldsworthy are very scarce, primarily due to their natural fragility. Much of what the artist has produced can only be documented through photographs (such as his ice constructs), and as such, these photographs are deemed to be the artwork. Actual physical works by Goldsworthy, either leaf sculptures, or in this case, large leaf wall-works, hardly ever appear on the market. [From the Collection of Ms. Patricia Scheidt, Honorary Director of the Arts Club of Chicago]. £ Price on Request
14. GORGONA. Gorgona No. 1. Zagreb. Vlastita naklada [Privately published]. 1961. 21 x 19 cm. Publisher’s wrappers. The art group Gorgona existed in Zagreb from 1959 until 1966. Gorgona's members were artists Marijan Jevsovar, Julije Knifer, Djuro Seder, Josip Vaništa, Ivan Kozaric, as well as theoreticians Dimitrije Basicevic Mangelos, Radoslav Putar and Matko Mestrovic. Gorgona did not have a program or manifesto, and was not an artistic group in the usual sense. It was based on the idea of spiritual kinship in a much broader sense than implied by defined aesthetic or stylistic program. For its members it was territory of spiritual and intellectual freedom. Each of the artists of Gorgona maintained and developed a complete creative autonomy. Gorgona was advocating unconventional forms of artistic activity. Gorgona's activity can be divided into three sections: exhibitions in Studio G (1961 to 1963, Schira Salon in Zagreb, Croatia), publishing of the Gorgona anti-magazine (1961-1966), and concepts, projects and various forms of artistic communication. The magazine Gorgona, published in 11 issues, in an edition of 65 to 300 copies, remains the most important vestige of the group’s activities, not only as an artistic document, but as itself a work of art. Josip Vaništa, who edited the magazine, designed this, the very first issue. It consists of the same photograph of a shop window in Zagreb repeated nine times on each page of the magazine. Limited to 300 copies £ 3,000
15. GORGONA. Gorgona No. 2. Zagreb. Vlastita naklada [Privately published]. 1961. 21 x 19 cm. Publisher’ s wrappers. The art group Gorgona existed in Zagreb from 1959 until 1966. Gorgona's members were artists Marijan Jevsovar, Julije Knifer, Djuro Seder, Josip Vaništa, Ivan Kozaric, as well as theoreticians Dimitrije Basicevic Mangelos, Radoslav Putar and Matko Mestrovic. The magazine Gorgona, published in 11 issues, in an edition of 65 to 300 copies, remains the most important vestige of the group’s activities, not only as an artistic document, but as itself a work of art. The second issue of Gorgona magazine was designed by Julije Knifer. It consists of a “continuous meander” drawing in which the pages of the magazine, instead of being bound in sequence, were connected to produce an unbroken circle. Limited to 300 copies £ 3,000
16. GORGONA. Gorgona No. 3. Zagreb. Vlastita naklada [Privately published]. 1962. 21 x 19 cm. Publisher’s wrappers. The third issue of Gorgona magazine was designed by exclusively Marijan Jevšovar, and limited to 150 copies. It comes from the series called “Perfect Drawings” in which Jevšovar tries to draw freehand correct geometrical figures - a circle, parallel lines, a curved line. Jevšovar tries to overcome the impersonality of geometric facts and makes them individual by the imperfectness of free strokes. £ 3,000
17. GORGONA. Gorgona No. 7. Zagreb. Vlastita naklada [Privately published]. 1965. 21 x 19 cm. Publisher’s wrappers. The seventh issue of Gorgona magazine was designed by exclusively Miljenko Horvat, and limited to 280 copies. This is an interesting issue in that, instead of being printed, the magazine contains two actual photographs. The origin of the photographs has to do with Vaništa’s trip to Skagen on the Danish coast, which is mentioned in a travelogue about Denmark by Milos Crnjanski, where dead seagulls can be frequently seen. Vaništa wrote to Horvat, who went to Skagen, and, hence the photograph with a melancholy motif of a dead seagull on a sandy beach; repeated in two versions, a lighter and a darker print. £ 3,500
18. GORGONA. Gorgona No.8. Zagreb. Vlastita naklada [Privately published]. 1965. 21 x 19 cm. Publisher’s wrappers. The eighth issue of Gorgona magazine was the most literary of the set. It is translation of Harold Pinter’s play “The Tea Party”. Published in an edition of 280 copies. £ 3,000
19. René GROEBLI. Visions. Photographies 1946-1991. Hermance. Editions Camera Obscura. 1992. 24.5 x 27.5 cm. pp. 203. Colour and black and white illustrations throughout. Publisher’s glossy wrappers, with two metal screw bolts. With slipcase. Overview of the work of the photographer René Groebli, the author of such legendary photobooks as “Auge der Liebe" and "Magie der Schiene”. This one of 76 deluxe copies signed and numbered on the title page by Groebli, and with an original black and white photograph (originally created in 1953) issued loose, which is also signed and numbered on the verso." £ 450
20. Raoul HAUSMANN. Material 2. Hannover. Edition Copie im Verlag Zweitschrift. 1982. 20.1 x 21.3 cm. Publisher’s black wrappers, metal rivet binding. A facsimile of Hausmann’s copy of the second issue of Material 2, a magazine first published in 1959 by Daniel Spoerri. Hausmann’s designs consist of red sketches on the black pages, and blue pen sketches on the white pages. This facsimile was published in an edition of 500 copies, with an introduction by Uta Brandes and Michael Erlhoff. £ 70
21. David HOCKNEY. Fourteen Poems by C. P. Cavafy Chosen and Illustrated with Twelve Etchings by David Hockney. London. Editions Alecto Limited. 1966. 47.5 x 33.6 cm. pp. 60. Illustrated with twelve original etchings by David Hockney. Original publisher's purple cloth boards and black card slipcase. David Hockney's illustrations for Cavafy's poems. From the Edition A limited to 300 copies, signed by Hockney in pencil to the justification and with the additional signed etching 'Portrait of Cavafy II' loosely inserted, each etching is stamped 'Edition A' on the verso. This was to be the first major series of etchings by Hockney since The Rake's Progress of 1963. £ 4,000
22. Davi Det HOMPSON. Spare Pages. Richmond, Virginia. Self-published by the artist. 1978. 13.8 x 11.4 cm. pp. (24). Original wrappers, slightly foxed. Artist book, limited to 24 copies, signed, numbered and dated in pencil on the first page. “Nothing more than a series of repeated occurences is intended - Davi Det Hompson reads as he stamps each of the pastel pages” - this is the text which actually has been handstamped over and over again on pastel coloured pages. Davi Det Hompson was associated with Fluxus during the late 1960s and '70s, and received international attention for text-based posters, artist's books and mail art. Hompson demonstrated an intuitive understanding of linguistics and often highlighted the visuality of letters and words. His treatment of language as material can be seen with his own name, Davi Det Hompson, a nom d 'art for David E. Thompson. £ 195
23. Davi Det HOMPSON. The words will have been typed simply because typing words is what I do. Richmond, Virginia. Self-published. 1977. 21.5 x 14.2 cm. Publisher’s wrappers, stapled. This is one of a number of artist books with curiously typographed short texts, issued by the Fluxus-related artist David E Thompson a.k.a. Davi Det Hompson. £ 65
24. Davi Det HOMPSON. I asked a usuually talkative friend why she was so quiet. She finished her punch before admitting, “I’m afraid you’ll put everything I say into your next exhibition." Richmond, Virginia. Self-published. (1976). 21.5 x 14 cm. pp. (16). Artist book, short texts. £ 65
25. Ray JOHNSON. A Book About Death. New York. Self-published. 1963- 1965. Complete set of 13 offset printed loose leaves, each folded for mailing. Each 35.5 x 21.5 cm. Considered by many the “father of Mail Art”, as early as 1953 Johnson began sending highly conceptual images/texts to friends, often encouraging the recipient to add to the work, or to forward it on to someone else, or to return it. Forming the ‘New York Correspondence School’ in 1962, Johnson established an enormous network of participants throughout the world. Between 1963 and 1965, Ray Johnson printed thirteen individual pages of his Book about Death, with the Pernet Printing Company, 120 Lexington Avenue at 28th Street. It remains one of his scarcest publication.
His title, which designated the thirteen unbound pages as a book, is A Book about Death, yet also A Boop about Death and A Boom about Death. Not only were they not to be bound, Johnson often pointed out that he'd intentionally avoid sending people all the pages. Superstitious of the number 13, he numbered his last leaf "15" with leaves 13 & 14 never produced. "If A Book About Death were finished, it would lose much of its meaning as a process rather than a product. A Book About Death, first planned as a whole that could close around itself like the ouroboros on PAGE 1, had to become an open book, indefinite and undecidable. For Ray, a closed book could be like a death, just as dying could be like closing a book. Because Ray wanted death to be an open book, his A Book about Death had to remain incomplete, with pages that would never be read.” (Bill Wilson, A Book About A Book About Death. Amsterdam: Kunstverein, 2011). Kindred in spirit to the work of Joseph Cornell, the imagery of A Book About Death is dominated by what Johnson called his small irregularly shaped collages - “moticos”, an anagram for “osmotic” (from osmosis). Johnson’s works continued the Dada and Surrealist tradition of collage (including that of Kurt Schwitters and Max Ernst) and pursued the provocation of paradoxical verbal and visual puns, absurd juxtapositions, word-play riddles and hidden references with a witty nihilistic sense of humour. Johnson wrote poetic texts and letters and integrated language and a unique system of cryptic signs into his work. Complete sets of the 13 folded sheets are exceedingly rare, as no one participant was designated to receive all of Johnson’s mailings. No complete copies listed on Worldcat. [Ref. Aarons & Roth - In Numbers. Serial Publications by Artists Since 1955, pp. 104-115]. £ 28,000
26. Ray JOHNSON. The Paper Snake. New York. Something Else Press. 1965. Oblong 22 x 27.4 cm. With dust-jacket, some tears. Publisher’s pictorial cloth, with dust jacket. Some tears and minor loss to jacket. First edition, first printing, hardback issue. A seminal artist's book, which interweaves text with collages and mail art. Provides a compendium of Johnson’s mail art as sent to Dick Higgins. Book is printed in blue and brown in a limited edition of 1,840 copies. £ 175
27. Jarosław KOZŁOWSKI. Metaphysics. Warsaw. Galeria Foksal. 1972. 29 x 20 cm. Folded exhibition brochure. In ‘Metaphysics’, numbers were written on the image (a room’s interior and its various contents) and exhibited opposite various phrases or questions. As one of the most outstanding contemporary Polish artists, long affiliated with the conceptual movement, Kozłowski has been exhibiting since 1967. His work consists chiefly of installations that incorporate media such as drawing, light, sound, photography and objects. £ 45
28. Jarosław KOZLOWSKI, Andrzej BEREZIANSKI & Andrzej KOSTOLOWSKI. Spis treści. Poznań. PZGK. 1975. 21 x 11 cm. Black and white illustrations. Publisher’s wrappers, stapled. Three essays by three of the leading Polish conceptualists. £ 75
29. Sol LEWITT. Four Basic Kinds of Straight Lines. London. Studio International. 1969. 20 x 20 cm. pp. (32). Black and white line drawings reproduced throughout. Publisher’s wrappers, stapled. Ex-library with call numbers on lower edge of front cover and first page, and stamp on inside front cover. Early artist book by Sol LeWitt. “These drawings, using parallel lines closely drawn, were used to make a finite series. The directions of the lines (vertical, horizontal, and two further 45degree diagonals) were absolute possibilities” (from, Sol LeWitt, MoMA New York 1978). [Ref. Künstler Bücher I. Krefelder Kunstmuseen, p. 92, no. 4; Maffei - Sol LeWitt Artist’s Books, pp. 32-33]. £ 185
30. Sol LEWITT. Four Basic Kinds of Lines & Colour. London & New York. Lisson Gallery / Paul David Press. 1977 (despite colophon stating 1971). 20 x 20 cm. pp. (36). Publisher’s wrappers. Artist book. “The colors used were the three primary colors (yellow, red, and blue) plus black. Superimpositions of line and color provided progressive gradations of tone and color” (from, Sol LeWitt, MoMA New York 1978). This book is not to be confused with the similar 1971 publication by the Lisson Gallery, which only has 32 pages. [Ref. Künstler Bücher I. Krefelder Kunstmuseen, p. 93, no. 26; Maffei - Sol LeWitt Artist’s Books, pp. 74-75]. £ 195
31. Lucy LIPPARD. 955,000. An exhibition organized by Lucy Lippard. The Vancouver Art Gallery. 1970. Exhibition catalogue published in conjunction with a show held January 13 - February 8, 1970. This is an expanded, somewhat different version of the Seattle exhibition and catalogue "557,087" which had been organised by Lucy R. Lippard the previous year at the Seattle Art Museum Pavilion, Seattle, WA, September 5 - October 5, 1969. As several works that had been installed in Seattle were site-specific they had to be recreated in Vancouver. 29 projects were altered or newly added to the show in Vancouver. The two shows in North America were followed by an exhibition at the Centro de Arte y Communicaciรณn in Buenos Aires in December 1970 entitled 2,972,453. The exhibition titles refer to the number of inhabitants of each of the three cities - in the case of Vancouver 955,000 was the population of the Greater Vancouver area. The catalogue consists of 136 printed 4 x 6 inch index cards containing artists' proposals and conceptual works plus one additional unprinted, blank. Artists include Vito Acconci, Carl Andre, Keith Arnatt, Richard Artschwager, Terry Atkinson, John Baldessari, Michael Baldwin, Robert Barry, Rick Barthelme, Gene Beery, Mel Bochner, Bill Bollinger, Jon Borofsky, Daniel Buren, Donald Burgy, Rosemarie Castoro, Greg Curnoe, Hanne Darboven, Walter de Maria, Jan Dibbets, Christos Dikeakos, Rafael Ferrer, Dan Graham, Hans Haacke, Alex Hay, Michael Heizer, Eva Hesse, Douglas Huebler, Robert Huot, Stephen Kaltenbach, On Kawara, Edward Kienholz, Robert Kinmont, Joseph Kosuth, Christine Kozlov, John Latham, Barry Le Va, Sol LeWitt, Roelof Louw, Duane Lundon, Bruce McLean, Robert Morris, N. Y. Graphic Workshop, N.E. Thing Co., Bruce Nauman, George Nikoliadis, Dennis Oppenheim, John Perreault, Adrian Piper, Robert Rohm, Alan Ruppersberg, Edward Ruscha, Robert Ryman, Fred Sandback, George Sawchuk, Richard Serra, Randy Sims, Richard Sladden, Robert Smithson, Keith Sonnier, Jeff Wall, Lawrence Weiner, and Ian Wilson. Most index cards, sent in by the artists for the exhibition catalogue, give instructions for the construction and installation of the works as there was no budget to either fly the artists in or to ship all artworks to Vancouver. The objects and installations were executed by Lucy Lippard herself, by Vancouver artists and other volunteers. The catalogue pages also served as labels accompanying the artworks in the exhibition. ยฃ 550
32. Richard LONG. A walk past standing stones. London. Coracle Press. 1980. 10 x 6.3 cm. Title, and 9-part black and white photographic leporello, printed sinlgle side. Publisher’s wrappers. Images of The Pipers 1 & 2; Kerris, Tresvennack, Drift, the Blind Fiddler, Boscawen-Un, Boswens, Beersheba, from photographs taken in Cornwall in 1978. [Ref. Moeglin-Delcroix, Esthétique du livre d'artiste, p. 229, illustrated; Künstler Bücher I. Krefelder Kunstmuseen, p.102]. £ 150
33. Richard LONG. Postcards 1968-1982. Bordeaux. Musée d’art contemporain de Bordeaux. CAPC. 1983. Oblong 22 x 30 cm. pp. (84). Illustrations mainly in black and white. Publisher’s green wrappers. Accompanied exhibition. £ 85
34. Richard LONG. Sixteen Works. Anthony d’Offay Gallery. 1984. Oblong 21 x 29.5 cm. pp. (40). Publisher’s yellow wrappers. Artist book, with text works printed in black and red. Frontispiece portrait of the artist. Limited to 1500 copies, and despite only the 500 hardback copies designated as being signed, this softback copy is also signed in pencil by Long. Ref. Künstler Bücher I. Krefelder Kunstmuseen, p.103, no. 27]. £ 110
35. Richard LONG. South America. Düsseldorf. Konrad Fischer. 1973. 12.6 x 12.8 cm. pp. (32). Publisher’s wrappers. First edition. Richard Long's compact artist's book, an amalgam of brief texts and Pre-Columbian pictograms. The book refers to Long’s hiking expedition in South America and around Lake Titicaca in 1972. [Ref. Künstler Bücher I. Krefelder Kunstmuseen, p.101, no. 7]. £ 175
36. Richard LONG. Richard Long. Eindhoven. Van Abbemuseum. 1979. Oblong 24 x 33 cm. pp. 136. Ca. 100 photographs in black and white, 4 in colour, 1 drawing and 4 reproductions of maps. Publisher’s grey cloth, with titles stamped in red. Published on the occasion of an exhibition, this book provides a survey of Long’s works through photographs and reproductions of texts. Contains the first documentation of Long’s interior works. Limited to 1000 copies. Catalogue designed by Long and Walter Nikkels. [Ref. Kunstler Bücher I. Krefelder Kunstmuseen, p. 102, no. 14]. £ 60
37. Richard LONG. Piedras. Palacio de Cristal. Madrid. Ministerio de Cultura / British Council. 1986. Oblong 21 x 31.1 cm. pp. 64. Publisher’s printed wrappers. Exhibition catalogue with 30 photos depicting Long's works, including those presented indoors. Photos mostly black and white. Includes an essay by Anne Seymour. [Ref. Künstler Bücher I. Krefelder Kunstmuseen, p. 104, no. 31]. £ 58 38. Richard LONG. "Rain Dance” August 24, 1969. The Rift Valley, East Africa. New York. Multiples. 1970. 20.5 x 30.5 cm. Four images printed on a single card. From the Artists & Photographs box, published by Multiples Inc., in an edition of 1200 copies. £ 95
39. George MACIUNAS. Flux Paper Events. Berlin. Edition Hundertmark. 1976. 21 x 15 cm. Approx 22 pp. Publisher’s wrappers, with mild staining to covers. Artist book limited to 500 copies. Maciunas’ manipulated book, experimenting with paper by stapling, cutting, folding, perforating, punching a hole, crushing, staining, tearing and glueing. [Ref. Anne Moeglin-Delcroix - Esthétique du Livre d’Artiste 1960/1980, p. 126 with illustration]. £ 75
40. Mario MERZ. Fibonacci 1202 Mario Merz 1970. Turin. Sperone Editore. 1970. 16.5 x 10 cm. pp. (112). Publisher’s thin boards, cloth tape spine. With printed dustjacket. This copy with library call numbers on spine and lower front cover, and ownership inscription on first page. Small tears to dust jacket. Artist book referring to the Fibonacci sequence, a mathematical series of numbers originally recognised in the 13th century in which each number is equal to the sum of the two numbers that precede it. [Ref.the Moeglin-Delcroix - Esthétique du livre Mario Merz employed the sequence to represent universal principles of creation and growth, since the Fibonacci sequence is the formula for growth patterns found in many forms of life. [Ref. Moeglin-Delcroix - Esthétique du livre d'artiste, p. 261, 376; Germano Celant, Book as Artwork, p. 41]. £ 250
41. Annette MESSAGER. La femme et … Annette Messager truqueuse. Geneva. Ecart Publications. 1975. Oblong 14 x 20 cm. pp. (24). With 26 black and white photographic reproductions, each of a naked woman on which drawings were made. "La femme et la jeune fille", "La femme et la mort", La femme et le venin", "La femme et le monsieur sérieux", "La femme et l'opération", "La femme et le barbu", "La femme épinglée", "La femme et le dessin", "La femme et la peur" and "La femme et la main". Publisher’s wrappers. This copy with a neat hole perforated in the upper left hand corner, and with an institutional stamp on the tissue prelim. Artist book published to accompany the exhibition at Ecart, which opened February 5th, 1975. Limited to 500 stamp-numbered copies. £ 95
42. Maurizio Nannucci. Definitions / Definizioni. Hinwil. Edition Galerie Howeg. 1970. 17 x 12 cm. pp. (68). Publisher’s wrappers, with dust jacket. Library call numbers written on first page. Artist book with, on the left-hand pages terms in Italian, and on the right, the same terms in English. Signed in pencil by Nannucci on final blank. £ 180
43. Richard OLSON. Perfect Bind. Beloit, Wisconsin. Published by the artist. 1978. 15.3 x 13.2 cm. Original wrappers, perfect bound on all four sides. Artist book apparently produced as a result of a conversation with two librarians. It is a "perfectly bound book" on all sides, which makes it less vulnerable to the usual wear and tear of a perfect-bound book. Obviously this also makes the book totally inaccessible and unreadable. Signed and dated by the artist in pencil on the rear cover. £ 200 44. (PALAIS des BEAUX-ARTS / BRUXELLES). Carl Andre / Marcel Broodthaers / Daniel Buren / Victor Burgin / Gilbert & George / On Kawara / Richard Long / Gerhard Richter. Brussels. Palais des Beaux-Arts / Paleis voor Schone Kunsten.1974. Square 20 x 20 cm. pp. (80). Publisher’s wrappers. This copy with library call numbers written on front cover and spine, and stamps on first page. Artist's book that also served as exhibition catalogue for a show organised by Yves Gevaert from 9-1-1974 till 3-2-1974. Each artist made an from 9-1-1974 till 3-2-1974. Each artist made an original contribution to the catalogue printed on different kinds of paper. Andre made 6 drawings, Broodthaers made "Un Jardin d'Hiver", Daniel Buren made six original screenprints in six different colours, each printed recto verso on thick paper, Kawara sent a telegram telling Yves Gevaert "I am still alive", Burgin made a text, Gilbert & George and Long made photographs, and from Richter there is 1024 colours in 4 permutations printed on glossy paper. £ 200
45. Dieter ROT. 246 Little Clouds. New York. Something Else Press. 1968. 23.5 x 16 cm. pp. (176). Publisher’s cloth with dust jacket. Artist book, with reproductions of texts and drawings on grey paper. [Ref. Dobke - Dieter Roth Books, no. 246 / p. 193; Anne Moeglin-Delcroix: Esthétique du Livre d’Artiste 1960/1980, p. 332 with illustration]. £ 175
46. RUBBER. Rubber. Monthly bulletin of Rubber stamp works. Nos. 1 - 12. Amsterdam. Amsterdam Stempelplaats. 1978. 12 issues. 23.5 x 16 cm. Each issue loose in original wrappers; housed together in cardboard folder. Edited by Aart van Barnevelt, Rubber was a monthly bulletin documenting the use of stamps in the plastic arts. Each issue published in an edition of 400 copies, with short texts about the works of the artists, and a number of original prints of the stamps the artists used in their work, plus some reproductions of works. 1. Cozette de Charmoy. Stampworks; 2. Robert Jacks. Stamped images; 3. Barton Lidice Benes. Stampworks; 4. Pawl Petasz; 5. Marie C. Combs; 6. Ulises Carrion; 7. Dik Walraven; 8. Elsa Stansfield; 9. Ray di Palma; 10. J.H.Kocman; 11. Anna Banana & Bill Gaglione; 12. Franz Immoos. £ 450
47. Seth SIEGELAUB. March 1969. [aka. One Month]. New York. (Siegelaub). 1969. 21.5 x 17.5 cm. pp. (32). Original printed cream wrappers, stapled along top edge. Staples have rusted, otherwise a good copy. An exhibition catalogue for an exhibition that did not take place outside the printed catalogue. This book, also known as One Month, was organised by Seth Siegelaub and takes the form of a page-a-day calendar for the month of March 1969. Siegelaub developed the book by assigning each of the 31 invited artists a specific day of the month (and its corresponding page) upon which they would construct a work. These text-based works were then collated and published by Siegelaub, leaving blank the pages assigned to artists who failed to respond. Robert Barry indicates that he would release two cubic feet of helium into the air, whilst Laurence Weiner’s piece reads: “An object tossed from one country to another”. The participating artists were Carl Andre, Mike Asher, Terry Atkinson, Michael Baldwin, Robert Barry, Rick Barthelme, Iain Baxter, James Lee Byars, John Chamberlain, Ron Cooper, Barry Flanagan, Dan Flavin, Alex Hay, Douglas Huebler, Robert Huot, Stephen Kaltenbach, On Kawara, Joseph Kosuth, Christine Kozlov, Sol Lewitt, Richard Long, Robert Morris, Bruce Nauman, Claes Oldenburg, Dennis Oppenheim, Alan Ruppersberg, Ed Ruscha, Robert Smithson, De Wain Valentine, Lawrence Weiner, and Ian Wilson. [Ref. Lippard - Six Years. The Dematerialization of the Art-Object from 1966-1972, pp. 79-80; Moeglin-Delcroix - Esthétique du Livre d'Artiste 1960 / 1980, pp. 144]. £ 600
48. Carlo SILVESTRO. The Living Book of the Living Theatre. Cologne. Verlag M. DuMont Schauberg. 1971. 22.9 x 21.2 cm. Unpaginated, Numerous black and white illustrations throughout. Publisher’s wrappers. German language edition. Photo-documentation concerning one of the most experimental and radical American theatre groups. Founded in New York in 1947 by the German-Jewish émigré Judith Malina and the American Julian Beck, the Living Theatre was one of the first theatre ensemble to stage works by European authors such as Bertolt Brecht, Jean Cocteau, Gertrude Stein or T. S. Eliot. Known throughout the 1950s for artistic avant-garde productions, the theatre later became more and more part of the beat and hippie counterculture, and an important focus for the protest movement against the Vietnam War. £ 25
49. Hans STAUDACHER. Phantastischer Makulaturismus. Vienna. Self-published. (1969). 22.2 x 16.5 cm. Unpaginated, c.150 pages. Original printed wrappers. Published on the occasion of Staudacher’s exhibition at the Galerie Stubenbastei, Vienna, this artist book is limited to 200 copies, signed and numbered by the artist. Each copy of the book is unique, composed of found magazine pages, advertisements, many of which are then lithographed or screenprinted over by Staudacher. Complete with three original lithographs. Since the early postwar years, Hans Staudacher (b. 1923) has been regarded as a leading Austrian exponent of Gestural painting. In 1956 he represented Austria with eight paintings at the 28th Venice Biennale. [No copies on Worldcat, one copy at the National Library of Austria]. £ 450
50. John TANCOCK. Multiples, the first decade. Philadelphia Museum of Modern Art. 1971. 23 x 14 cm. pp. 120 + 40 plates with 64 illustrations. Consisting of heavy, brightly colored pages glue-bound, made with snaps to attach first and last pages (to display as a fanned cylinder). Printed on accordion-folded card stock in six colours (red, orange, yellow, green, blue and purple). Original printed obi present, with mild sun-bleaching to covers, otherwise a good copy. The innovatively designed and bound catalogue published in conjunction with the first large-scale Museum exhibition of contemporary artists' multiples from the 1960s. Artists with work reproduced here include Marcel Duchamp, Man Ray, Roy Lichtenstein, Lucio Fontana, Hundertwasser, Arman, Enrico Baj, John Cage, Max Bill, Max Ernst, Douglas Huebler, Allen Jones, Sol LeWitt, & Claes Oldenburg. £ 125
51. Wolf VOSTELL. dé-coll/agen 1954-69. Plakate Verwischungen Objekte Happening Partituren Happening Fall Outs Elektronische Verwischungen Elektronische Objekte. Berlin. Galerie René Block. 1969. 24 x 17 cm. pp. 448. Publisher’s printed wrappers. Consisting almost exclusively of photographs of early happenings and actions by Vostell. Text by Sidney Simon, documentation by Hans Sohm. This copy signed by Vostell in black ink on the first page. £ 145
52. VILE MAGAZINE. Vile No.7. Stamp-Art. San Francisco. Banana Productions. 1979. 24 x 17.2 cm. Composed of approximately 300 rubber-stamped pages. Original black card wrappers, bound with metal clasp, stickers and rubberstamp affixed to front cover. VILE magazine was founded by artist Anna Banana in response to what she felt as fellow magazine FILE’s growing disdain for mail-art. After a move to San Francisco in the summer of 1973, Banana teamed up with Bill Gaglione (later and temporarily her husband) and became associated with the Bay Area Dadaists. Chief among their publications was VILE magazine, which eventually ran to a total of eight issues. Whilst the first five issues of the magazine appropriate FILE’s already appropriated red-andwhite Life magazine logo, the latter issues, under Gaglione’s growing editorial influence, shift away from overt references to FILE in format, and toward an inquiry into the nature of the mailart community. The 7th issue is an assembling of rubber stamp art. One hundred and eightyfive international contributors each sent approximately three hundred rubberstamped pages, which were then collated to create the final assemblings. The volume was produced in an edition of 300. [Ref. Gwen Allen – Artists’ Magazines. An alternative space for art, p. 308; Aarons & Roth - In Numbers. Serial Publications by Artists Since 1955, pp. 404-411]. £ 800
53. Peter WEIBEL & Valie EXPORT (editors). Wien. Bildkompendium Wiener Aktionismus und Film. Frankfurt. Kohlkunstverlag. 1970. 30 x 21 cm. pp. 318. Publisher’s black wrappers. Legendary compendium on Viennese Aktionism, profusely illustrated throughout with images from the artist’s films. £ 320
54. WET. Wet. The Magazine of Gourmet Bathing. Nos. 1 - 34. [All published]. Venice and Santa Monica, CA. Leonard Koren. 1976 - 1981. A complete set of Leonard Koren's revered seventies Venice California lifestyle magazine WET, notable for its prescient mixture of H2O culture, mild nudity, fashion, and great ads for so many trendsetting, short-lived L.A. boutiques. ‘Wet: The Magazine of Gourmet Bathing’ covered an offbeat mix of art, music, and fashion (everything from necrophiliac performance art to the work of Ed Ruscha) in an innovative and influential visual format that helped to define the Los Angeles New Wave aesthetic. In the first issue, editor Leonard Koren wrote: “Wet is a magazine devoted to upgrading the quality of your bathing experience. Hopefully, in the great American tradition of Coca-Cola, doggie diapers and Pet Rocks, Wet will become one of the things you never imagined you needed until you find you can’t live without it.”
The concept for the magazine evolved out of Koren’s ‘bath art’ phase, in which he produced works such as the silkscreen print ‘23 Beautiful Women’ and the book ‘17 Beautiful Men Taking a Shower’. Wet broadened the definition of bathing to include other water-related phenomena such as hot tubs, rolfing, drinking water (“bathing from the inside”), and waterbeds. Gradually the magazine grew to encompass ‘gourmet bathing’ in a metaphorical sense: an eclectic lifestyle grounded in the boundless appreciation of absurdity. Starting as a four-page black-and-white zine, it went through numerous format changes, adding colour covers and developing a distinctive graphic style that exploded the modernist grid with asymmetrical, clashing layouts. Virtually any visual or written piece can be given a WET slant. The pictorial and graphical is more important than the textual. (Legibility and readability are seemingly of minor concern.)
Wet’s influential look was said to inform, among other things, the changing style of Artforum, which earned the epithet “Wetforum” in the 1980s. Throughout its production, WET continued to draw from a variety of artists and contributors. Contributing photographers included Eric Blum, Moshe Brakha, Guy Fery, Jim Ganzer, Brian Hagiwara, Brian Leatart, Jacques-Henri Latrigue, Dana Levy, Claude Mougin, Beverly Parker, Lisa Powers, Herb Ritts, Matthew Rolston, Raul Vega, Guy Webster, and Penny Wolin. WET also included artwork by Rip Georges, April Greiman, Matt Groening, Jim Heimann, Thomas Ingalls, Kim Jones, Jayme Odgers, Taki Ono, Futzie Nutzle, Gary Panter, Peter Shire, John Van Hamersveld, David Jordan Williams, Teruhiko Yumura, and Bob Zoell. Complete sets of Wet are institutionally very rare. Worldcat lists no complete holdings worldwide. Incomplete sets held by the Getty, Yale Univeristy, Harvard University and MoMA. [Ref. Gwen Allen – Artists’ Magazines. An alternative space for art, p. 310]. £ 8,500,,,,
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